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UPCOMING EVENTS

THE LITTLE MERMAID

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12 Mar 2025

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Snow White and Babes in the Wood

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8 Jan 2025

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West Side Story

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26 Feb 2025

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'Charlie and the Chocolate Factory'

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18 Feb 2025

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Urinetown The Musical

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18 Feb 2025

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LATEST NEWS

Oklahoma as presented by Tullyvin Musical Society

Society Name:  Tullyvin Musical Society Show Name:  Oklahoma! Adjudicator Date of Attendance:  19/10/2024 Brief Overview of Show and...

Society Name:  Tullyvin Musical Society Show Name:  Oklahoma! Adjudicator Date of Attendance:  19/10/2024 Brief Overview of Show and Evaluation of Front of House Nestled within a hillside, Tullyvin Community Centre provided an intimate, welcoming setting for Tullyvin Musical Society’s performance of Oklahoma!  The Front of House décor was thoughtfully crafted, enhancing the atmosphere with a light-up “OKLAHOMA” sign along the front railing and cozy autumnal decorations in the foyer. Director - Direction and Production The director’s approach to Oklahoma!  was clear in blocking, making good use of both stage space and set elements. There were several well-executed scenes, including a high-energy fight sequence during the box social scene and another intense moment between Curly and Jud in the final act. However, despite strong staging choices, the show felt lacking in depth. The actors performed their lines well, but there seemed to be minimal development of character relationships or backstories, which led to some missed emotional connections. This absence was particularly noticeable in the romantic tension between Curly and Laurey, and the darker rivalry between Curly and Jud. Though all characters fit their roles, a more layered exploration of their motivations and dynamics could have elevated the storytelling. Musical Director - Direction and Orchestra The music, under a skilled Musical Director, was the standout element of the production. Harmonies were strong and well-rehearsed, lending depth to each number. The orchestra, even in the small space, was beautifully balanced, allowing the melodies and counterpoints to shine without overpowering the singers. The MD’s enthusiastic conducting was evident but could have benefitted from a lower placement, as he occasionally obstructed the LED wall and was visually distracting. Choreographer - Choreography The choreography, while high-energy in numbers like “Kansas City”, was mixed overall. The male ensemble brought commendable enthusiasm and performed capably, but pieces like “Many a New Day” fell short, even with some skilled female dancers in the cast. The dream sequence, although passable, did not fully capture the intended tension between Laurey, Curly, and Jud, and missed opportunities to emphasize the underlying emotions of love and fear. Rather than elevating some of the stronger dancers in key moments, the choreography often seemed adapted to accommodate the less experienced cast members. More strategic choices could have helped balance the skills of the ensemble and highlighted stronger dancers effectively. Leading Principals - Singing and Acting Laurey – Scarlett McCormack Scarlett delivered a vocally strong performance, handling Laurey’s challenging vocal lines with apparent ease. A pleasure to listen to, filled with warmth and colour, her voice blended richly with Curly’. However, her portrayal was subdued, with limited facial expression, which created a somewhat flat characterization. Her performance might have benefitted from more direction to encompass Laurey’s spunky, independent personality. Laurey’s spirit as a sassy, independent young woman was missing, which impacted the believability of her romantic arc with Curly. Curly – Colm Shalvey Colm demonstrated exceptional vocal talent, particularly in “Oh, What a Beautiful Mornin’,” with his smooth tenor voice. However, his physical portrayal lacked the ease and swagger of a confident cowboy, and he occasionally appeared stiff in movement. Some dance training to increase physical expressiveness would likely enhance his portrayal and help him embody Curly’s self-assured charm more fully. Aunt Eller – Andrea Fitzpatrick Andrea delivered a warm, natural performance as Aunt Eller. She balanced a playful spirit with maternal wisdom, giving the role charm and presence. Her strong voice added to her convincing portrayal, marking her as one of the most comfortable and engaging on stage. Jud – Ian Rountree While Ian has the vocal chops for Jud, his character portrayal missed the mark. He was not menacing enough to convey Jud’s darker, unsettling qualities, nor vulnerable enough to evoke sympathy. This led to Jud feeling more like a conventional character with romantic leading man tendencies, than the layered, ominous figure that drives much of the story’s tension. Supporting Roles - Singing and Acting Ado Annie – Emily Smith Emily’s Ado Annie was playful but could have gone further with the comedic, flirtatious aspects of her character. Vocally, her soprano tone didn’t fully capture Ado Annie’s brassy style, yet her warm stage presence and lively expressions kept the role enjoyable. Will Parker – Conor Lynch Conor brought excellent energy and a solid voice to the role, delivering a charming performance as Will. While his enthusiasm was evident, he could have leaned into the physical comedy with Ado Annie, adding dimension to their interactions. Ali Hakim – Enda Gill Enda presented a well-voiced, charismatic portrayal of Ali Hakim. However, his accent felt off, and the humour could have been pushed further. As a physically dynamic character, a more flexible portrayal would have given Ali Hakim the eccentric flair he requires. Andrew Carnes – Brian Feerick Brian’s portrayal was warm, adding depth as Ado Annie’s protective father. He balanced sternness with humour, although more could have been done to exaggerate his relief at “losing” his daughter. Gertie Cummings Alanna captured Gertie’s trademark laugh with energy, commitment and gusto, though her performance sometimes leaned into a more polished style that might have been even more effective with a subtler comedic touch. The stray strands of hair occasionally drew focus away from her facial expressions, which slightly impacted the overall performance. Ike Skidmore – Jason Nulty Jason brought a lively energy to the stage, consistently engaged in the ensemble scenes. He was a good mover and stayed involved in the action throughout, contributing to the ensemble's cohesiveness. Cord Elam – Donal Cooney  Donal brought a stutter to Cord’s character, which fit well, adding a sense of endearment to his role as a cast member. He stayed true to his character, enriching the scene’s atmosphere with his nuanced performance. Slim – Ben Lynch Ben’s enthusiasm as Slim was evident, though his dialogue often got lost, being inaudible at times. With more voice projection and clarity, his excitable character would have made a stronger impact. Dream Laurey – Aiveen Sexton Aiveen showed grace and poise in the ballet sequence. Her movements were clean, bringing presence to the role. She showed an ability to communicate the ballet’s emotions, though the choreography didn’t fully support her potential. Dream Curly – Eugene Hill Eugene displayed good physicality, though his role was underutilised. More challenging choreography could have highlighted his abilities further. Chorus/Ensemble - Singing, Acting, and Choreography The ensemble harmonised well and brought vibrant energy to the show. They worked cohesively as a unit, showing clear engagement and enjoyment on stage. While dance levels varied, they compensated with dedication and enthusiasm. Their singing was a highlight, bringing warmth and depth to group numbers. Overall, the ensemble demonstrated a sense of camaraderie that translated into a lively performance, though further dance training could enhance their synchronisation and fluidity in future productions. Stage Management & Set Design The set design was impressive and creatively adapted for the small stage. Well-painted and cleverly crafted, the set transitions were smooth and well-timed. The LED wall added a modern touch, though a more cohesive visual style between the LED graphics and painted flats would have enhanced the setting. The set truck operated seamlessly, contributing to a clean, polished stage flow that supported the story without distracting from it. Some tech equipment was visible downstage, detracting slightly from the immersive experience, yet overall, the stage team handled changes with efficiency and care. Technical - Light and Sound The sound was well-executed, with clear balance and no missed cues, showcasing the singers’ harmonies effectively. The lighting, while functional, was somewhat basic. Transitions between cues felt abrupt and could benefit from smoother changes, especially during key scenes like the ballet sequence. The lighting setup’s limited kit was used serviceably, yet the lighting design might have explored more atmospheric elements, particularly with moving lights, to enhance the emotional moments. Visual - Costumes, Hair, and Makeup Costuming was bright, colourful, and in keeping with the period for the most part, adding authenticity to the setting. However, some modern details detracted from the overall effect, such as Laurey’s 1950s-style dress in an 1850s story and Gertie’s 1980s finale costume. Hair styles also needed more period-appropriate styling for both men and women. The makeup was suitably subtle and natural, fitting the rural atmosphere. Adjudicator’s Overall Comments Tullyvin Musical Society’s production of Oklahoma!  displayed strong musical direction and cohesive teamwork, particularly in vocal performance. This society has untapped potential, with an evident passion and dedication that could be further enhanced through a bolder approach to direction and choreography. With continued growth, Tullyvin Musical Society is sure to produce even more captivating performances.  Therese Maher Sullivan Adjudicator 2024/2025 Some photos shared by the society:

Frozen Jr. As Presented by Bosco Drama Group

Bosco Drama Group  Frozen Jr.  Saturday 5th October 2024  Frozen Jr. was a triumphant return to Newry Town Hall for the cast and crew of...

Bosco Drama Group  Frozen Jr.  Saturday 5th October 2024  Frozen Jr. was a triumphant return to Newry Town Hall for the cast and crew of Bosco Drama Group. Only a year previously, their production of ‘Everybody’s Talking About Jamie’ was almost cancelled when the Town Hall was flooded, destroying costumes, sets and props. In true theatrical style, the show proceeded in an alternative venue, highlighting the indomitable power of community. What a joy it was for them all to return to their home and to bring this Disney classic to life with an enormous cast of 8–18-year-old performers; every one of them living their best lives and basking in the glow of the wonderfully inclusive and supportive ethos that is promoted so clearly in the Bosco Drama Group.  Front of House was a hive of activity when we arrived and it was so lovely to see so many young children, dressed as their favourite ‘Frozen’ characters, excited for the forthcoming evening’s entertainment. We were escorted to our seats at the front of the balcony and my dodgy knee was never so grateful to have the most leg room I’ve ever had in a theatre!  Director Corinna McCaughey brought this challenging show to the stage, doing very well with her extremely large cast. She created some magical, theatrical moments, culminating in a brilliantly effective transformation sequence which revealed Elsa’s iconic dress during the fabulous ‘Let it Go.’Ms. McCaughey elicited some fine performances from her talented cast as she guided us through the story with a light touch and good attention to the narrative. At times, I felt that some performers played directly to the audience, even when delivering dialogue to one another. As a former young member of the group herself, Ms. McCaughey must have been immensely proud of everyone involved in this production.  As per the strict licensing agreement, Musical Director Aislinn McGinn was unable to use an orchestra for this production, as would be the norm for the group. Instead, she worked with the high-quality tracks provided by the licence holders. Whilst this allowed her to focus more on the vocal requirements of the show, it did restrict her somewhat, in places, and did not afford her the flexibility which having an orchestra might do. As well as the sizable onstage ensemble, Ms. McGinn conducted a large choir of young children whose angelic voices and enthusiasm added so much to the show. Principal vocals were generally of a good standard and the onstage ensemble acquitted themselves very well throughout. The stunning ‘Let it Go’ finale was the vocal highlight of the show for me.  Ann Marie Morgan has spent the last quarter of a century choreographing for Bosco Drama Group. What an incredibly impressive record that is and, I’ll wager, it is highly unlikely to be surpassed in too many other groups. She created some wonderful routines which really suited the abilities of her young cast. There was inventive and fun use of props, which really helped to drive the narrative. ‘In Summer’ was full of comedic business and I loved the fun-filled ‘Hygge’ with its lederhosen clad ensemble and the clever tankard sequence a la ‘Beauty and the Beast.’ ‘Let it Go’ was a delight and I really loved the movement of cast in ‘Colder by the Minute’. The iconic role of Elsa was played with great focus by the talented Robyn Cunningham. Ms. Cunningham brought us on an emotional journey from the fear and isolation experienced in the early stages of the show to the transformative ‘Let it Go’, in which she demonstrated her very strong voice. ‘Colder by the Minute’ was another vocal highlight. This was a huge role for Ms. Cunningham to take on and she handled it very well indeed.  Emily Morgan was full of energy as Elsa’s younger sibling, Anna. She exuded character and likability in what was a most vibrant performance. Ms. Morgan was equally comfortable with the comic elements of her character as the more heartfelt aspects. She had a full, mature voice and impressed greatly in ‘Love is an Open Door’ with Hans.  Driving Elsa and Anna’s backstories were some equally talented young ladies. Sophie McKernan, Eibhlinn McNeill, Kate O’Mahony and Daimhin Feehan played the roles of Young Anna, Young Elsa, Middle Anna and Middle Elsa respectively. Each of these brought great fun and commitment to their roles.  Patrick McAllister was an impressive, if laid back, Kristoff, full of sarcastic fun. Mr. McAllister had good stage presence and had a wonderful onstage rapport with Ms. Morgan. ‘Reindeer(s) are Better than People’ was a beautiful moment, very well sung.  Aidan McCaughey melted the audience’s heart as everyone’s favourite snowman, Olaf. This was a solid comic performance from Mr. McCaughey, who relished every moment on stage. He also deserves every credit for his management of what was a visually stunning, but nonetheless cumbersome, costume. Mr. McCaughey brought the house down with his fine rendition of the impressively staged ‘In Summer’.  Conor Sands had good fun with his portrayal of the two-faced Hans. His performance was suitably over the top, when needed. He nailed the required duplicity of the role, segueing from charming to devious, seamlessly. I really liked his ‘Love is an Open Door’ with Ms. Morgan; one of the show’s many highlights.  Holly Campbell’s costume, as reindeer Sven, looked as if it had just been swiped from the walls of the Natural History Museum. Ms. Campbell took what could easily be a forgettable character and captured our hearts with her great vocal expression and comic business.  The show boasts a large cast of cameo roles, and this provided lots of opportunity for the production team of this wonderfully inclusive company to give valuable experience to many of its young members. Danny McGinn shone as a funny Weselton. Shay Devlin also impressed as the heavily accented Oaken in the rousing ‘Hygge’. There was great work too from Eoghan Drumm and Olivia Ward as Pabbie and Bulda in their well-performed ‘Fixer Upper’. Faith Savage did well as Bishop and Micheal Sean McAteer and Sophie Morgan were suitably regal in their portrayals of King Agnarr and Queen Iduna.  There were well over a hundred and fifty young performers, between the onstage ensemble and the children’s choir. The choir sang beautifully, giving excellent support to their fellow cast on stage. I was greatly impressed by their exceptional discipline between numbers as they never once distracted from the action on stage. How wonderful it was for all of these children to get the opportunity to take centre stage, dancing their hearts out to a specially inserted Disney medley at the end of the show. The large on-stage ensemble was kept busy all through the show. From the townspeople to the hidden folk, to the castle servants, to the summer chorus, to the snow chorus, we were treated to a constant conveyor belt of talented performers who sang with gusto and were fully committed to the well-rehearsed dance routines. Stage manager Anne Marie McAleenan was also responsible for the show’s artistic design. She did a wonderful job of creating a suitably ‘Disneyesque’ world with exquisite attention to detail in all of the very solid, colourful trucks and set pieces which were seamlessly manoeuvred by a very skilled and efficient crew. The trucked ‘maypole’ was a nicely authentic touch, and the large, upstage ice trucks helped to create a dramatic setting for the wonderful ‘Let it Go’ number. My only gripe was seeing crew in blacks rotating the wonderful door truck in full light as it took us out of the story momentarily.  Props were generally well chosen and in keeping with the fun of the show. There was nice use of parasols and beachballs for ‘In Summer’ and the chocolate cake was rather impressive too. I really liked the silver branches which really added to ‘Let it Go’ and I’m pretty sure that bucketloads of silver glitter were used throughout the run for Elsa’s many moments of magic. Good work from all!  There was great work throughout from the lighting department with good use of moving lights and haze in creating some of the show’s most magical highlights. Gobos were very well utilised to help create mood and atmosphere, enhancing the visual impact of the production greatly. ‘Colder by the Minute’ was very dramatically lit as the show’s climactic blizzard took hold.  Sound was in capable hands for this show. As one would expect at a final performance, cueing of tracks was consistently sharp, with no unnecessary delays. Cueing of mics was also very solid. Track levels were set well, ensuring that vocals and underscored dialogue were generally well heard. I would have liked more overall volume in general, but I suspect that positioning of speakers in the auditorium meant that those of us seated in the balcony were not getting the full impact from the PA system.  There was a stunning array of costumes assembled for this production. There is a very definite template in place, dictated by the classic animated movie. To deviate from this too much would have crushed the expectations of a large cohort of children who packed the Town Hall in the hope of seeing their favourite characters come to life. There was no need for worry because boy did the costume team deliver! From the iconic dresses synonymous with Elsa and Anna, to Sven and Olaf’s superb looks, this was a costume plot to be very proud of. Nothing was left to chance with the ensemble either. I was particularly impressed with the attention to detail for servants, the fabulous coronation dresses, the fun lederhosen in ‘Hygge’ and the beautiful white dresses in the wonderful ‘Let it Go’.  Hair and make-up were very well managed considering there were so many people on stage. Wigs were generally well chosen, especially for our Annas and Elsas whose iconic looks were very well recreated.  This was an entertaining production of the familiar Disney classic. Familiarity with the source material contributed greatly to the audience’s engagement and it was a delight to hear so many little (and not so little) voices joining in with all of the familiar numbers. Equally delightful was hearing all about the amazing work which has been done by Bosco Drama Group over the years to promote inclusivity in the community. Every child who walks through the doors at the beginning of the summer, is guaranteed to get their chance to perform. And what an amazing experience that clearly was for them all. To everyone who helped to facilitate this wonderful ethos, take a bow. Love is indeed an open door!  Pat McElwain  Gilbert adjudicator 2024/2025

Legally Blonde as presented by Ulster Operatic Company

Date of Attendance : October 11, 2024 Society : Ulster Operatic Company Production : Legally Blonde Brief Overview of Show and Front of...

Date of Attendance : October 11, 2024 Society : Ulster Operatic Company Production : Legally Blonde Brief Overview of Show and Front of House Evaluation Ulster Operatic Company’s production of Legally Blonde  at Belfast’s Grand Opera House was a delightful theatrical experience set against the stunning backdrop of this iconic venue. The old-style décor of the theatre beautifully contrasted with the modern, stylish foyer, creating a warm and sophisticated atmosphere. The front-of-house team greeted guests with professionalism and even handled late arrivals gracefully, ensuring a welcoming start to the evening. Though there wasn’t any specific décor themed around Legally Blonde , the elegance of the venue suited the high energy of the show. The production itself was superbly crafted, with every performer contributing to a powerful ensemble dynamic. Each member was equally invested and committed, creating a performance where it was impossible to pinpoint a single standout—an impressive feat in amateur theatre. The energy and synchronisation across the cast were apparent and contributed to a polished, memorable performance. Director – Direction and Production The direction of Legally Blonde, by Tony Finnegan ,  was a testament to careful planning, creativity, and an eye for detail. The scenes were slick and meticulously blocked, with clear attention given to every movement and reaction. From minor characters to lead roles, each performer had a well-defined character arc, adding depth to the production and allowing for richer storytelling. A particularly bold choice was the lowering of the tricolour cloth, which did not go unnoticed. Two moments especially showcased the director’s flair: the guard’s humorous interaction with Brooke and the waiters’ engaging dynamics in the opening scene. These interactions were well-timed and skilfully directed, adding delightful humour and a human touch to each character’s role. Overall, the direction left no detail unattended, creating a production that was as cohesive as it was captivating. Musical Director – Direction and Orchestra The music for Legally Blonde  was vibrant and energetic, thanks to a strong big-band orchestra led by a capable Musical Director, Wilson Shields. The band’s sound was powerful and added a rich layer to the show, though occasionally it overpowered the vocalists on stage. The partial openness of the drum screen seemed to cause a slight echo effect with the drums. Nevertheless, the MD expertly guided the tempo and timing, with no missed cues or rushed beats. This control allowed the cast to perform with confidence, keeping the energy high while ensuring that the pacing of each song matched the intensity of the scene. Choreographer – Choreography The choreography by Matthew Watson in this production was nothing short of spectacular. Every cast member was in sync, each move executed with precision, and every routine exuded professionalism. Not a single beat or step was out of place, and even the smallest gestures were cohesive and polished. It was remarkable to see amateur performers execute such demanding routines with finesse and uniformity. The male cast members, in particular, brought a divine energy to their movements, adding a layer of excitement and energy that elevated the choreography even further. This accomplishment speaks volumes about the dedication of the choreographer and the commitment of the cast. Leading Principles – Singing and Acting Elle Woods – Karen Hawthorne Karen Hawthorne gave a charming performance as Elle Woods, combining polished singing with a warm stage presence. Her portrayal was slightly understated in terms of Elle’s girlish charm, but her energy and professionalism shone through, making her a believable and engaging protagonist. Emmett Forrest – Sean Harkin Sean Harkin brought a gentle strength to Emmett, his voice carrying a beautiful tone that matched his character’s humble nature. His portrayal of Emmett’s quiet brilliance was endearing, and his chemistry with Elle felt authentic and well-paced. Paulette Buonafonte – Jordan Arnold Jordan Arnold’s portrayal of Paulette brought both warmth and humour, and her lively personality ultimately won over the audience. Although she appeared less confident with some of the choreography, she made up for it with her expressive acting. Additional interaction between Paulette and Kyle could have enhanced the comedic impact of her character, although I believe this is a fault of the script and not of the production. Warner Huntington III – Joshua Martin Joshua Martin played Warner with a charming arrogance that perfectly captured the character’s sense of entitlement. He leaned into his character’s self-centred nature, alternating between heartthrob and heartbreaker. His voice was consistently strong, adding a level of sophistication to Warner’s flawed persona. Professor Callaghan – James McGinn James McGinn’s subtle take on Professor Callaghan gave an unexpected twist to the character’s unsavoury intentions. His decision to underplay Callaghan’s creepiness made the kiss scene even more shocking, creating a jarring effect. Though his presence could have been more commanding, McGinn’s performance was solid and cohesive. Vivienne Kensington – Caitlin Johnston Caitlin Johnston’s Vivienne was wonderfully sharp and sarcastic, portraying her initial haughtiness with precision. Her voice was strong, and she held her own in scenes with the chorus. Her gradual character development was well executed, allowing her softer side to come through naturally as the show progressed. Supporting Roles – Singing and Acting Brooke Wyndham – Jordan Rosborough Jordan Rosborough’s Brooke was full of energy, managing the impressive feat of singing on beat and in tune while performing with a jump rope. She balanced Brooke’s strength and vulnerability, delivering humour and resilience in equal measure. Kyle B. O’Boyle – Adam Johnston Adam Johnston fully embraced the role of Kyle, exuding confidence and comedic timing. He stayed in character even through audience raucous laughter, maintaining his swagger and cheeky persona, which made him an audience favourite. Margot – Erin Tumlinson Erin Tumlinson gave a solid performance as Margot, singing and dancing with grace and precision. She fit seamlessly into the cheerleader quartet, adding to the group’s harmonious dynamic. Pilar – Ellen Magee Ellen Magee was equally delightful as Pilar, bringing enthusiasm and energy to the role. Her bubbly personality and synchrony with the group made her character endearing. Serena – Leah Henderson Leah Henderson stood out among the quartet with her lively portrayal of Serena. Her vocals and dancing were confident and animated, embodying the spirit of a cheerleader and adding depth to the ensemble. Kate – Caroline McMichael Caroline McMichael showed maturity beyond her years as Kate, blending well with the older cast and adding a grounded presence to the ensemble. Chorus/Ensemble – Singing, Acting, and Choreography The chorus and ensemble brought an unparalleled level of professionalism to the production. The synchronisation in dance numbers was flawless, with each member committed to the choreography and singing. Harmonies were consistently strong, and it was clear that every individual was invested in their role, adding to the collective energy on stage. The discipline and cohesion within the ensemble were evident, elevating the production and allowing each scene to flow seamlessly from one to the next. Stage Management & Set Design Despite limited technical rehearsal time, the Ulster Operatic Company’s stage team expertly managed the professional set, which allowed for smooth scene transitions and added a polished visual element to the production. With the advantage of a fly tower, the crew was able to manage set changes with precision, enhancing the show’s pacing and keeping the audience engaged. Each set piece was well-placed, and the backstage crew executed their roles efficiently, making for a seamless visual experience. Technical – Light and Sound The lighting design was effective overall, though there were a few slightly delayed cues. Focus and colour were well-balanced, complementing the onstage action and keeping transitions smooth. Clever use of lighting also helped draw focus and conceal scene changes, adding to the fluidity of the performance. Sound was mostly well-mixed, though some supporting characters could have benefited from increased volume, particularly during ensemble scenes. Given the orchestra’s size, the sound balance could have been adjusted to ensure that all vocal parts were clearly heard. However, these minor issues did not detract significantly from the show, and the technical team demonstrated solid skill overall. Visual – Costumes, Hair, and Makeup The costume, hair, and makeup design contributed to a visually cohesive production. Costumes were fitting for each character, helping the audience easily identify the roles and personalities. They were pristine throughout. Hair and makeup were similarly well-executed, with styles that suited each character’s personality. Elle’s curls occasionally got in her face, but this was a minor detail that did not detract from the overall polish of the production. Adjudicator’s Suggestions and Comments Ulster Operatic Company’s Legally Blonde  was a standout production, showcasing a cast and crew dedicated to delivering a memorable, professional performance. Every element—from direction to choreography, from technical execution to visual design—blended seamlessly, creating a cohesive and enjoyable show. Finding areas for improvement in such a strong production is challenging. A minor adjustment to sound balance might help to better project the supporting roles in future performances, but this is a minor suggestion. Suggestions for future improvement are challenging to identify, as this production was already exemplary. Perhaps minor adjustments in sound mixing could improve clarity for supporting characters. Ultimately, the performance would have been equally compelling with minimal staging or props, as the ensemble’s energy and synergy were the true highlights. The Ulster Operatic Company delivered a slick, clean, tidy show that was thoroughly enjoyable from start to finish. Therese Maher - Sullivan Adjudicator 24/25 Some photos of the production by Melissa Gordon

Rock of Ages as presented by Newry Youth Performing Arts

Society Name: Newry Youth Performing Arts Show Name: Rock of Ages Date of Attendance: September 14, 2024 Brief overview of the show and...

Society Name: Newry Youth Performing Arts Show Name: Rock of Ages Date of Attendance: September 14, 2024 Brief overview of the show and evaluation of Front of House Upon arriving at the Market Place Theatre and Arts Centre, one is immediately struck by the modern, imposing structure. The towering glass-covered foyer greets patrons with its bright, clean lines, albeit with a slightly sterile aesthetic. However, the heart of the venue lies beyond: a cosy, multi-level theatre with comfortable seating and intimate sightlines, ideal for a show like Rock of Ages , which thrives on audience connection. The atmosphere was warm and inviting from the moment I stepped inside. The production team and front-of-house staff exuded friendliness, offering a level of hospitality that made me feel as though I were among friends. This approach certainly set the tone for a lively and engaging evening. The audience's anticipation was palpable as they settled in for a night of entertainment—an irreverent, high-energy rock-and-roll romp full of innuendo, humour, and nostalgia. The production kept pace, delivering scene after scene without pause, moving seamlessly from one high-energy moment to the next. The show balanced comedy and romance, exploring the trials and tribulations of its eclectic characters with humour, heart, and a hefty dose of nostalgia for the 1980s rock era. Director - Direction and Production Director Jordan Walsh-Rhodes, who also played the lead role of Drew, demonstrated capable leadership in guiding this production. His direction helped the show flow smoothly, and his use of the theatre’s spacious stage was effective in creating varied and interesting stage pictures. Walsh-Rhodes showed a clear understanding of pacing, keeping the energy high throughout and ensuring that there were no noticeable lulls in the action. The show maintained a rhythmic ebb and flow, with moments of high intensity giving way to softer, more intimate interactions between characters. The quieter, more intimate moments between the lead characters were particularly well-directed, helping to convey the emotional depth of their relationship. The chemistry between Drew and Sherri, played by Naomi Smyth, was palpable, and the audience was fully invested in their journey. While the production maintained a good pace, there were a few awkward blocking moments, particularly in scenes around the bar, where the positioning made it difficult for certain sections of the audience to fully engage with the action. Despite these minor issues, the overall direction succeeded in keeping the energy high and the audience entertained. Musical Director - Musical Direction and Band Performance The five-piece band, positioned on a riser at the back of the stage, played well together, though their placement presented some challenges in terms of synchronisation with the cast, particularly during larger ensemble numbers. While the band was tight, their sound lacked the punch and power that a rock musical like Rock of Ages  demands. The opening number would have benefited from a bigger, more dynamic sound to set the tone for the rest of the show. That said, the band handled the score well, and there were standout moments, especially during quieter numbers where they blended seamlessly with the cast's vocals. But ultimately, Rock of Ages  demands a certain level of audacity and power from its music, and this production could have benefited from a more aggressive, full-throttle sound. Choreographer - Choreography The choreography, led by Paul Burns, was a bit of a mixed bag. Some numbers were well-executed, particularly by the stronger dancers in the cast, but a portion of the ensemble struggled with the complexity of the choreography. Choreographing for a youth group often requires adapting routines to match the abilities of the performers, and in this case, there were moments where the choreography outstripped the dancers' capabilities. This was most evident in the larger ensemble numbers, where synchronisation and precision were inconsistent. That said, there were standout moments, such as the stripper number, which struck the right balance between being playful and sexy without crossing into inappropriate territory. However, the opening number lacked the impact needed to truly grab the audience's attention from the start. Focusing on the more skilled dancers at the beginning might have strengthened the overall effect. Leading Principals Sherri (Naomi Smyth) : Naomi Smyth delivered an impressive performance, showcasing excellent vocals and a strong stage presence. Her portrayal of Sherri felt genuine, and she connected well with both the audience and her fellow cast members. Smyth's character arc was well-communicated, and she successfully took the audience along with her on Sherri’s emotional journey. Drew (Jordan Walsh-Rhodes) : Walsh-Rhodes played Drew with charm and sincerity. His vocals were strong throughout, particularly in the softer moments, where his performance felt effortless and natural. He captured Drew’s nervous, goofy nature well, and his chemistry with Smyth was one of the production’s strengths. Lonny (Ruairi McAlinden) : McAlinden brought fantastic comic timing to the role of Lonny. His performance was energetic and humorous, and he appeared very comfortable with the show's playful, innuendo-filled dialogue. His delivery was consistently engaging, although his eyeline was slightly low at times, which may have made higher-seated audience members feel excluded from his performance. Dennis (James McGinn) : McGinn’s portrayal of Dennis was serviceable, though somewhat inconsistent. While he had some nice moments, his character’s defiance in the face of the club’s closure needed to be stronger to make the eventual loss more impactful. Franz (Sean Mudzyk) : Mudzyk was deliciously camp as Franz, delivering excellent comedic moments and bringing high energy to every scene he appeared in. His presence consistently elevated the atmosphere, and his vocals were solid. Hertz (Andy Hill) : Hill’s performance as Hertz was somewhat lacking in power. While his imposing physical stature gave him a natural presence, his diction was poor, and he struggled to project authority in the way the character demanded. As a result, Hertz's antagonistic role felt underdeveloped, and his moments of supposed ruthlessness were not entirely convincing. Supporting Performers Regina (Blanaid Hughes) : Hughes delivered a high-energy performance with strong vocals. Her enthusiasm and commitment to the character were clear, and she brought the necessary vibrancy to Regina's activist personality. Justice (Carol McCourt) : McCourt’s performance lacked the vocal power needed for the role of Justice. Additionally, the character’s dual nature—a motherly figure with a shrewd business side—wasn’t as clearly defined as it could have been, resulting in a portrayal that felt understated. Stacee Jaxx (Anthony Fitzpatrick) : Fitzpatrick needed more swagger and confidence to convincingly portray Stacee Jaxx, the rock star that Sherri falls for. His vocals were solid, but they didn’t convey the star power necessary to sell his character’s status as a larger-than-life rock icon. Chorus / Ensemble The chorus was filled with enthusiastic performers who gave their all, but their execution was uneven. There were moments where the ensemble dancing lacked precision, and synchronisation issues were noticeable in the larger group numbers. Despite these technical shortcomings, the energy and commitment from the cast were undeniable. Every performer remained in character throughout the show, and it was clear that the ensemble was fully invested in the story. Vocally, the chorus was strong in parts but suffered from occasional sound imbalance. Whether this was due to a mixing issue or a lack of volume from the performers themselves was difficult to determine, but certain numbers that should have been powerhouses felt a little thin. Still, the ensemble brought a palpable energy to the production, and their dedication to the material was evident in every scene. Stage Management & Set Design The set design was one of the highlights of this production. The team behind it clearly put a lot of thought into creating a space that felt authentic to the rock-and-roll world of Rock of Ages , with excellent attention to detail. The exposed trusses and decking created an authentic rock-and-roll atmosphere that fit the story perfectly. The decision to place the band onstage as part of the set added a bold visual element, though it didn’t entirely succeed in enhancing the show, as the musicians didn’t fully embrace the rock star persona. The stage management was slick, with seamless scene changes that never disrupted the pace of the production. There were a few minor sightline issues, particularly during scenes set at the bar, where the angle made it difficult for certain sections of the audience to fully engage with the action. This could be resolved in future productions by rethinking the positioning of key pieces of set furniture. Technical - Lighting and Sound The lighting design effectively captured the rock-and-roll aesthetic, with bold colours and exposed rigging that added to the concert-like feel of the show. However, there were some inconsistencies with front-of-house lighting, as key characters were occasionally left in shadow due to missed cues and patchy coverage. Despite these minor flaws, the lighting design overall was well considered, and successfully captured the raw energy of rock music.  Sound was one of the weaker technical aspects of the production. The balance between the band and the vocalists was uneven, with some vocal lines getting lost in the mix, particularly during ensemble numbers. Missed sound cues, especially at the start of dialogue, also disrupted the flow of several scenes. A more powerful and immersive sound design would have significantly improved the audience’s experience, especially in a show that aims to replicate the energy of a rock concert. The chorus, too, seemed underpowered in places, though it was unclear whether this was due to microphone issues or simply a lack of projection. In a show that should be sonically immersive and even overwhelming at times, the sound design needed more attention to give the audience that true "rock concert" feel. Costumes, Hair, and Makeup The costume design was appropriate for the genre, with several standout pieces like Sherri’s blue stripper dress and Lonny’s humorous T-shirt changes. However, Justice’s costumes could have been more glamorous to reflect her role as a former stripper turned nightclub owner, and the ensemble dancers’ costumes could have been more cohesive to match Sherri’s glitz. Hair and make-up were fitting for the production’s period and genre, leaning into the big hairstyles and dramatic makeup associated with the 1980s. The ensemble’s looks were consistent with the rock-and-roll theme, and the design elements complemented the costumes well.  Adjudicator’s Suggestions Overall, Rock of Ages  was a lively and enjoyable production with clear strengths in its direction, set design, and the commitment of the cast. Jordan Walsh-Rhodes’ dual role as director and lead actor was handled admirably, and his performance, along with Naomi Smyth’s Sherri, anchored the show beautifully.  However, there are areas that could be refined for future performances. The choreography, while ambitious, needed to be tailored more effectively to the abilities of the cast, ensuring that the movements highlight their strengths, rather than exposing weaknesses. Additionally, the technical aspects—particularly sound and lighting—require more attention to ensure that they enhance rather than detract from the performance.  For future endeavours, I would recommend considering the addition of an assistant director if one of the creative team members takes on a leading role. This would allow for greater attention to be paid to the finer details of the production, which might be overlooked due to the demands of performing. The decision to include the band on stage was a bold one, but if this is to be repeated, more emphasis should be placed on integrating the musicians into the world of the show. Encouraging them to fully embrace their roles as part of the "rock concert" experience, could make for a more immersive and impactful production. Finally, pushing the boundaries a little further with costumes would add a level of flair that this kind of show thrives on. The aim should be to fully embrace the wild, over-the-top world of rock music, where bigger is often better. In conclusion, Newry Youth Performing Arts’ Rock of Ages  was an entertaining and spirited production that captured the heart and energy of the musical while offering room for refinement. The cast's enthusiasm and dedication, combined with strong direction, ensure that this production will be remembered fondly by those who attended. Therese Maher Sullivan Adjudicator 2024/2025

Shrek as presented by Fermanagh Musical Theatre

Society name: Fermanagh Musical Theatre Show name:   Shrek The Musical Adjudicator Date of Attendance: 22/08/2024 Front of House & Venue...

Society name: Fermanagh Musical Theatre Show name:   Shrek The Musical Adjudicator Date of Attendance: 22/08/2024 Front of House & Venue I’m envious of the stunning setting surrounding the Ardhowen Theatre. Nestled in by the river, the views from the front of house are breathtaking, and despite the large glass windows, the foyer feels warm and welcoming. The space is well laid out, and Fermanagh Musical Theatre (FMT) is fortunate to perform in such a facility. The Front of House team matched this warmth with their approach—greeted with smiles and friendly chats, they were clearly on top of their game, ensuring everyone felt welcome upon entering the building. The theatre’s layout works in its favor, with no bad seats in the house. The intimate setting drew the audience into the world of Shrek The Musical . The production was light, fun, and filled with energy from start to finish.  Every performer on the stage was clearly enjoying themselves, and fully invested in telling the story. The show bounced along, never letting the energy drop, and never missing a beat. All in all, a very enjoyable evening's entertainment. Direction & Production Sam McElgunn was fortunate to have a talented cast to work with, though that can be both a blessing and a challenge for an inexperienced director. Overall, the pacing and flow of the show were strong, with no awkward pauses or lulls. The production followed a fairly traditional interpretation of the story. However, there were moments where the staging could have been stronger. most noticeably in the first scene with Shrek and the Fairytale characters where most of the scene was spent looking at Shrek’s back as he tried to address all the characters who remained stationary, often hidden, as they delivered their lines. The concept of having the characters turn the pages of the book was an interesting one and mostly worked, but consistency is key—either all characters should have participated in funky moves while changing the pages, or none at all. While the principal cast members were clearly talented, I felt Sam could have pushed them further, encouraging more exaggerated fairy-tale emotions and physicality. With each chorus member playing a distinct character, spending time developing their quirks and traits would have elevated the production, pushing the ensemble to maintain their characters throughout the show. Though time-intensive, such work adds layers and depth to a production. Sam clearly has a creative mind, but I’d suggest picking through all the ideas and focusing on the ones that truly serve the show and seeing them through completely. Musical Direction & Orchestra Moya Sweeney’s band was tight and well-rehearsed, with no missed cues or timing issues. She held them tight, feeling the ebb and flow of the show throughout. The tempos fit the energy of the show, bouncy when needed and held back when appropriate, always in sync with the action on stage. However, the balance between electric and acoustic instruments was an issue. This meant some of the score’s clever harmonies and instrumentation were lost. Vocally, the principals were strong throughout, handling the range of songs with ease. The chorus was equally tight, with well-rehearsed harmonies that blended beautifully. It helped that each cast member was mic’d, allowing every vocal moment to be heard clearly. Choreography Choreographers Chloe Martin and Cara Murphy delivered well-rehearsed routines with clean lines and high energy. It was evident that the cast had been drilled. Given their youth, I believe they could have been pushed even further. When youth is on your side, you can afford to take more risks with the complexity of the routines. There were some standout moments in the choreography, particularly the quirky "What’s Up Duloc" and the comedic "Ballad of Lord Farquaad." The use of fans in "Forever" was inventive, though I would have loved to see even more of them. Overall, the choreography flowed smoothly within the scenes, never feeling out of place or forced, though I suspect the cast has more to give if challenged further. Leading Principles John Og Cathcart (Shrek) : John captured Shrek’s softer side well, especially in the second act when his character falls in love with Fiona. He has a lovely tone to his voice and didn’t shy away from the bigger moments in the songs. However, I didn’t quite feel the full extent of Shrek’s annoyance, frustration, or anger, which would have provided more contrast between his gruff exterior and softer interior. John struggled a bit with the shoes, and I wonder if a different interpretation of Shrek’s physicality—perhaps using wider, more padded elements—could have avoided the awkwardness caused by the extra weight of the platform soles. Blathine Smith (Fiona) : Blathine was full of energy and comedy, easily switching between Fiona’s petulant child-like moments and her princess persona. Vocally, she sometimes slipped into nasal tones that were a little sharp, but there was no question about the power behind her voice. Confident on stage, Blathine led us through Fiona’s story arc with enthusiasm. Clodagh Sweeney (Donkey) : Clodagh was clearly comfortable with Donkey’s physicality, showing her experience as a performer. Singing in a male vocal range can be tough for someone with a female voice, but Clodagh handled it with ease. Her comic timing was spot on, though I would have liked to see her push even further, especially in her interactions with Shrek, really bringing him to his breaking point. Odhran Sweeney (Lord Farquaad) : I was delighted to see that Lord Farquaad was played kneeling, and Odhran’s portrayal was often hilarious. However, his costume and wig frequently needed adjustment, which distracted from his otherwise strong performance. Vocally, he was a great fit for the role, moving through his numbers with ease. Supporting Roles Amy Bogue (Teen Fiona)  was a standout, with some of the strongest vocals on stage. She commanded her role well but also blended seamlessly into the chorus when required. I look forward to seeing more from her in future productions. Niamh Maguire (Young Fiona)  handled her part well, though her more mature vocal and physical presence made it harder to believe she was the youngest version of Fiona. Harry Parkinson (Pinocchio)  impressed with his ability to sing in a high register without ever dropping it, and his physical portrayal of the puppet was spot-on. Niall Kerr (Gingy)  did a fantastic job handling the puppet, maintaining focus on the puppet rather than himself, and his falsetto singing never wavered. Nadia Stenson (Dragon)  managed the role vocally, but I missed the sass and swagger typically associated with the character, leaving me feeling that there was more untapped potential there. Chorus/Ensemble The chorus was vocally strong, with harmonies blending well and no individual voices dominating. This is a clear sign of a well-rehearsed group. Movement-wise, they worked well together, though some of the less experienced performers occasionally lost their character when they weren’t the focus. Maintaining those individual traits throughout would enhance their performances. Still, the cast looked like they were having a great time on stage, and their energy was infectious. Stage Management & Set Design Stage transitions were inconsistent, ranging from cast-led changes to blackouts and half-blackouts with visible stage crew. My advice here is to pick one style of transition and stick with it. The set design also suffered from a lack of cohesion. While there were some standout pieces—like the book, the fireplace, and the cloths—others lacked the finishing touches that would have tied everything together. Consistency in painting style and either fully embracing the function form of, or completely hiding, the steel deck would have improved the overall look. Technical Lighting was a disappointment. I spent the first 15–20 minutes wondering if there was any color in the lighting at all, and when it did appear, it felt too late. The difference in levels between upstage and downstage was also jarring, as characters would suddenly get brighter or darker depending on their position. Sound balance was an issue. There was a noticeable difference between the electrical instruments, and the acoustic instruments, leaving the overall sound a bit thin at times.  While every member of the cast was mic’d and the balance of vocals was good, there were numerous missed cues, which even after multiple performances was noticeable.  Costumes, Hair & Makeup Costumes were hit and miss. Pinocchio and the Dragon’s wings were well executed, but others, like the Witch and Cheshire Cat, needed more detail to elevate them to fairytale status. Fiona’s costumes were two sizes too big, which was distracting and detracted from the character. Wigs, with the exception of Lord Farquaad’s, were good, though Shrek’s crochet cap could have been improved with a bald cap. Adjudicators comments and suggestions This production had many strong creative ideas, but attention to detail and consistency would push it to the next level. Attending some technical and production focused workshops, as well as bringing on assistants in some departments would help address this. The young cast showed great potential, and with further challenges and refinement, they could produce something truly exceptional. A fun and enjoyable show that, with a few improvements, could reach even greater heights. Therese Maher Sullivan Adjudicator 2024/2025

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